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Complementary means first and foremost complementary. With color tones there is always a direct complementary color that is exactly opposite to the other.

With this color tone RGB 85 53 250 it is the complementary color RGB 170 202 5. Both colors form the strongest contrast to each other and are especially recommended for use in direct connection with each other.

If you display a text with its complementary color on a background with the displayed color, you will get a representation that is pleasant to the eyes and clearly too indistinguishable from each other. However, this is especially true for white, black and gray tones. With these, the contrasting colors are particularly natural, pleasant and common for our eyes.

Exposures are based on the same hue and represent lighter versions of the current color RGB 85 53 250. Besides the border colors white and black, almost all colors have lighter versions that can be used optimally in web design

The following lighter shades match the RGB 85 53 250 shade: RGB 90 53 245, RGB 107 71 255, RGB 124 89 255, RGB 141 107 255 and RGB 158 125 255

You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.

Shades are based on the same hue and represent a darker version of the current color RGB 85 53 250. In addition to the border colors white and black, almost all colors have shades that can be used optimally in web design.

The following darker shades match the RGB 85 53 250 shade: RGB 85 53 250, RGB 68 35 231, RGB 51 17 212, RGB 34 0 193 and RGB 17 0 174

Among other things, you can use them to modify buttons with mouse-over effects (called :hover in CSS) or generate other color gradations.

Warmer colors are created when the hue is shifted towards red, orange and yellow. These colors convey warmth, energy and an inviting atmosphere.

The following warmer shades match the RGB 85 53 250 shade: RGB 83 51 250, RGB 137 51 250, RGB 191 51 250, RGB 244 51 250 and RGB 250 51 202

They are stimulating and dynamic and are often used to attract attention or create a friendly and lively mood. An example of this transition is a shift from a cool blue through purple to red and orange.

Colder colors are created by shifting the hue towards green, blue and violet.

The following colder shades match the RGB 85 53 250 shade: RGB 83 51 250 and RGB 51 51 250

These colors have a cool, calming effect and create distance. They are often used to convey a sense of calm, freshness and stability. A classic example of this color range is a gradient from yellow to green to a deep blue or violet, reminiscent of water and sky.

Richer colors are created by increasing the saturation, which makes the colors appear more intense, brighter and stronger. A color with high saturation is more eye-catching and appears more vibrant and powerful. This effect can be used to emphasize important elements or to create a vibrant design.

The RGB 85 53 250 shade matches the following richer shades: RGB 83 51 250

An example is the development from a pale pink to a strong and bright red.

Less saturated colors are created by reducing the saturation, which makes the colors more muted, subtle and pastel-like. As the saturation is reduced further, they become closer and closer to a shade of gray. These colors appear calmer and more elegant and are suitable for a restrained and harmonious design.

The following paler shades match the RGB 85 53 250 shade: RGB 83 51 250, RGB 95 68 233, RGB 106 85 216, RGB 118 102 199 and RGB 129 119 182

An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.

The analog color scheme uses colors that are directly adjacent to each other in the color wheel. They usually fit together well and result in a calm and comfortable design.

The following analogous shades match the RGB 85 53 250 shade: RGB 51 127 250, RGB 51 74 250, RGB 81 51 250, RGB 134 51 250 and RGB 187 51 250

Analog color schemes are often found in nature. They are harmonious and pleasant to the eye. It is important that they have enough contrast. Choose one color to dominate and a second to support. The third color is used (together with black, white or grey) as an accent

The monochromatic color scheme uses colors that are on the same wavelength. They usually fit together very well and result in a pleasant and evenly colored design.

The following monochrome shades match the RGB 85 53 250 shade: RGB 39 5 213, RGB 50 11 249, RGB 83 51 250, RGB 117 91 251 and RGB 151 132 252

Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye

The partial complementary color scheme is a variation of the complementary color scheme. In addition to the base color, the two colors adjacent to the complement are used.

The following split-complementary shades match the RGB 85 53 250 shade: RGB 85 53 250, RGB 250 51 180 and RGB 101 250 51

This color scheme has the same strong visual contrast as the complementary color scheme, but is not as contrasting as the direct complementary color. The partial complementary color scheme is a good choice for designs. These colors usually complement each other very well.

A triadic color scheme uses colors evenly spaced around the color wheel. Triadic color harmonies are usually quite vivid, even if pale or unsaturated colors are used.

The following triaden shades match the RGB 85 53 250 shade: RGB 85 53 250, RGB 250 81 51 and RGB 51 250 81

The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.

The rectangular or tetradish color scheme uses four colors arranged in two complementary pairs. This rich color scheme offers many variation possibilities.

The following tetraden shades match the RGB 85 53 250 shade: RGB 85 53 250, RGB 250 51 180, RGB 220 250 51 and RGB 51 250 121

It works best if you let one of these colors dominate. You should also pay attention to the balance between warm and cold colors in the design

The square color scheme is similar to the rectangular color scheme, with all four colors evenly distributed around the color circle. The square color scheme works best when one color dominates.

The following squaren shades match the RGB 85 53 250 shade: RGB 85 53 250, RGB 250 51 121, RGB 220 250 51 and RGB 51 250 180

Again, pay attention to the balance between warm and cold colors in the design.

Note

Colors are displayed differently on each device. Please note that the colors do not always match 100%. Differences can occur when real colors are processed. We recommend a comparison of the real colors. We do not assume any liability.

Display options

Primary color

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

Complementary color

CMYK 16 / 0 / 98 / 21

HEX #AACA05

RGB 170 202 5

HSL 69.75, 0.95%, 0.41%

LAB 76.56, -31.5, 75.95

 

CMYK 63 / 78 / 0 / 4

HEX #5A35F5

RGB 90 53 245

HSL 251.56, 0.91%, 0.58%

LAB 40.1, 65.04, -89.15

 

CMYK 58 / 72 / 0 / 0

HEX #6B47FF

RGB 107 71 255

HSL 251.74, 1%, 0.64%

LAB 45.43, 61.3, -85.92

 

CMYK 51 / 65 / 0 / 0

HEX #7C59FF

RGB 124 89 255

HSL 252.65, 1%, 0.67%

LAB 50.27, 54.52, -77.93

 

CMYK 45 / 58 / 0 / 0

HEX #8D6BFF

RGB 141 107 255

HSL 253.78, 1%, 0.71%

LAB 55.48, 47.85, -69.41

 

CMYK 38 / 51 / 0 / 0

HEX #9E7DFF

RGB 158 125 255

HSL 255.23, 1%, 0.75%

LAB 60.92, 41.53, -60.58

 

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

CMYK 71 / 85 / 0 / 9

HEX #4423E7

RGB 68 35 231

HSL 250.1, 0.8%, 0.52%

LAB 34.4, 66.72, -90.73

 

CMYK 76 / 92 / 0 / 17

HEX #3311D4

RGB 51 17 212

HSL 250.46, 0.85%, 0.45%

LAB 29.05, 66.36, -88.72

 

CMYK 82 / 100 / 0 / 24

HEX #2200C1

RGB 34 0 193

HSL 250.57, 1%, 0.38%

LAB 24.29, 64.6, -85.57

 

CMYK 90 / 100 / 0 / 32

HEX #1100AE

RGB 17 0 174

HSL 245.86, 1%, 0.34%

LAB 20.73, 59.61, -80.2

 

CMYK 67 / 80 / 0 / 2

HEX #5333FA

RGB 83 51 250

HSL 249.65, 0.95%, 0.59%

LAB 39.76, 66.67, -92.54

 

CMYK 45 / 80 / 0 / 2

HEX #8933FA

RGB 137 51 250

HSL 265.93, 0.95%, 0.59%

LAB 45.06, 72.45, -83.62

 

CMYK 24 / 80 / 0 / 2

HEX #BF33FA

RGB 191 51 250

HSL 282.21, 0.95%, 0.59%

LAB 52.23, 80.38, -71.63

 

CMYK 2 / 80 / 0 / 2

HEX #F433FA

RGB 244 51 250

HSL 298.19, 0.95%, 0.59%

LAB 60.34, 89.48, -58.14

 

CMYK 0 / 80 / 19 / 2

HEX #FA33CA

RGB 250 51 202

HSL 314.47, 0.95%, 0.59%

LAB 58.93, 84.02, -33.28

 

CMYK 67 / 80 / 0 / 2

HEX #5333FA

RGB 83 51 250

HSL 249.65, 0.95%, 0.59%

LAB 39.76, 66.67, -92.54

 

CMYK 80 / 80 / 0 / 2

HEX #3333FA

RGB 51 51 250

HSL 240, 0.95%, 0.59%

LAB 37.79, 64.55, -95.86

 

CMYK 67 / 80 / 0 / 2

HEX #5333FA

RGB 83 51 250

HSL 249.65, 0.95%, 0.59%

LAB 39.76, 66.67, -92.54

 

CMYK 67 / 80 / 0 / 2

HEX #5333FA

RGB 83 51 250

HSL 249.65, 0.95%, 0.59%

LAB 39.76, 66.67, -92.54

 

CMYK 59 / 71 / 0 / 9

HEX #5F44E9

RGB 95 68 233

HSL 249.82, 0.79%, 0.59%

LAB 41.92, 54.96, -79.36

 

CMYK 51 / 61 / 0 / 15

HEX #6A55D8

RGB 106 85 216

HSL 249.62, 0.63%, 0.59%

LAB 44.97, 42.27, -64.68

 

CMYK 41 / 49 / 0 / 22

HEX #7666C7

RGB 118 102 199

HSL 249.9, 0.46%, 0.59%

LAB 48.86, 29.89, -48.63

 

CMYK 29 / 35 / 0 / 29

HEX #8177B6

RGB 129 119 182

HSL 249.52, 0.3%, 0.59%

LAB 53.21, 18.12, -31.92

 

CMYK 80 / 49 / 0 / 2

HEX #337FFA

RGB 51 127 250

HSL 217.09, 0.95%, 0.59%

LAB 54.85, 20.06, -67.92

 

CMYK 80 / 70 / 0 / 2

HEX #334AFA

RGB 51 74 250

HSL 233.07, 0.95%, 0.59%

LAB 42.01, 52.58, -88.89

 

CMYK 68 / 80 / 0 / 2

HEX #5133FA

RGB 81 51 250

HSL 249.05, 0.95%, 0.59%

LAB 39.61, 66.5, -92.79

 

CMYK 46 / 80 / 0 / 2

HEX #8633FA

RGB 134 51 250

HSL 265.03, 0.95%, 0.59%

LAB 44.71, 72.06, -84.21

 

CMYK 25 / 80 / 0 / 2

HEX #BB33FA

RGB 187 51 250

HSL 281.01, 0.95%, 0.59%

LAB 51.65, 79.74, -72.59

 

CMYK 82 / 98 / 0 / 16

HEX #2705D5

RGB 39 5 213

HSL 249.81, 0.95%, 0.43%

LAB 27.69, 68.63, -91.59

 

CMYK 80 / 96 / 0 / 2

HEX #320BF9

RGB 50 11 249

HSL 249.83, 0.95%, 0.51%

LAB 33.47, 76.7, -102.5

 

CMYK 67 / 80 / 0 / 2

HEX #5333FA

RGB 83 51 250

HSL 249.65, 0.95%, 0.59%

LAB 39.76, 66.67, -92.54

 

CMYK 53 / 64 / 0 / 2

HEX #755BFB

RGB 117 91 251

HSL 249.75, 0.95%, 0.67%

LAB 49.77, 51.12, -76.55

 

CMYK 40 / 48 / 0 / 1

HEX #9784FC

RGB 151 132 252

HSL 249.5, 0.95%, 0.75%

LAB 61.75, 35.1, -57.64

 

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

CMYK 0 / 80 / 28 / 2

HEX #FA33B4

RGB 250 51 180

HSL 321.11, 0.95%, 0.59%

LAB 58.02, 81.43, -22.03

 

CMYK 60 / 0 / 80 / 2

HEX #65FA33

RGB 101 250 51

HSL 104.92, 0.95%, 0.59%

LAB 87.67, -71.68, 75.92

 

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

CMYK 0 / 68 / 80 / 2

HEX #FA5133

RGB 250 81 51

HSL 9.05, 0.95%, 0.59%

LAB 58.46, 62.78, 52.39

 

CMYK 80 / 0 / 68 / 2

HEX #33FA51

RGB 51 250 81

HSL 129.05, 0.95%, 0.59%

LAB 86.83, -78.05, 64.99

 

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

CMYK 0 / 80 / 28 / 2

HEX #FA33B4

RGB 250 51 180

HSL 321.11, 0.95%, 0.59%

LAB 58.02, 81.43, -22.03

 

CMYK 12 / 0 / 80 / 2

HEX #DCFA33

RGB 220 250 51

HSL 69.05, 0.95%, 0.59%

LAB 93.37, -32.52, 83.21

 

CMYK 80 / 0 / 52 / 2

HEX #33FA79

RGB 51 250 121

HSL 141.11, 0.95%, 0.59%

LAB 87.22, -73.36, 48.36

 

CMYK 66 / 79 / 0 / 2

HEX #5535FA

RGB 85 53 250

HSL 249.75, 0.95%, 0.59%

LAB 40.21, 65.97, -91.79

 

CMYK 0 / 80 / 52 / 2

HEX #FA3379

RGB 250 51 121

HSL 338.89, 0.95%, 0.59%

LAB 56.16, 75.93, 9.95

 

CMYK 12 / 0 / 80 / 2

HEX #DCFA33

RGB 220 250 51

HSL 69.05, 0.95%, 0.59%

LAB 93.37, -32.52, 83.21

 

CMYK 80 / 0 / 28 / 2

HEX #33FAB4

RGB 51 250 180

HSL 158.89, 0.95%, 0.59%

LAB 88.15, -62.74, 20.44

 

Description

Color code: RGB 85 53 250 | qconv.com Color code: RGB 85 53 250 | qconv.com - big

Blue clearly dominates: the blue value surpasses the others. Bright color: high color values create a bright impression.

The breakdown of the color into the RGB color system: of 255 maximum color components, 85 red, 53 green and 250 blue.

The mixing ratio of these colors results in the displayed hue in the middle of the overlaps.

In the illustration you can see how the color is composed of the three components: red (top),green (bottom right) and blue (bottom left). In the middle you can see the result color.
85 53 250 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 66 cyan, 79 magenta, none yellow and 2 key.

The mixing ratio of these colors results in the displayed hue in the middle of the overlaps.

In the diagram you can see how the color is composed of the four components cyan (top left),magenta (top right),yellow (bottom right) and black or key (bottom left). In the middle you can see the result color.
66% 79% 0% 2% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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